I wanted to share a music article with you that I wrote awhile back. Are you familiar with the term Blue Notes?
Blue notes are specific flattened tones used in jazz and rock melodies. They create a specific quality of sound known as "blue."
When
I play a simple melody line from a nursery song, like London Bridges,
it is easy to pull out the melody of a familiar tune. If I wanted to
color in more sound, like adding color to a painting with crayons and
paints, then I would throw in an Eb note that moves to the E note.
Blue
notes like to return to their neighbor tone one half step higher. Blue
notes and their half step higher tones add a special feeling that first
sounds a bit dark, then it has a lighter sound to the song.
Neighboring
tones lead to chord tones. Let's talk a little more about these
neighboring tones when the melody goes back and forth with a
non-harmonic tone that is a half or whole step placed in the melody.
An
upper neighboring tone is a note that is chromatically and/or
diatonically above another note. When we talk about a lower neighboring
tone, we say that is a note diatonically or chromatically below another
note.
Why do we use these specific tones? Well, they serve as a
way for the piano player to improvise. When we flat a tone that will
provide the melody line with that tension and release sound. Remember
that neighboring tones are non-harmonic. Usually you will play them on a
weak beat.
Here are a few written examples of music notes to play in a measure. Start with single notes in your right hand.
Example One:
B, B, Bb, B, D.
Example Two:
D, Eb (blue note), E, C, D, C.
Blue
notes are flattened tones on the 3rd and 5th steps of the major scale
that always return to the neighboring tone one half step higher. They
make a huge difference in sound. Begin by playing these notes in a row
to hear what I am saying: C, D, Eb, E, F, Gb, G.
Just within one
measure, you will find places to add blue notes for improvising. The
choice is yours. Here is what I mean. Play these single notes for one
measure that receives four beats to the measure. So that means you will
be playing some eighth notes along with quarter notes; Eb to E, Eb to E
then play Gb to G.
An interval in music is the distance in pitch between two notes. The
interval is counted from the lower note to the higher one, with the
lower counted as 1. Intervals can be named generally by merely counting
upwards (by going forwards using the letters of the musical alphabet)
from one note to the other, inclusively. For example, from C to E is a
third (C to C is 1, or more commonly and elegantly, a unison, C to D is a
second and finally, c to E is a third.)
Intervals are named by
the number of the upper note (2nds, 3rds, etc. ) but there are two
exceptions to this. The interval between notes that are identical is
called UNISON (also called a PRIME INTERVAL); the interval of an 8th is
called an OCTAVE.
Melodic and Harmonic Intervals
Intervals
are called Melodic Intervals when they are sounded separately and
Harmonic Intervals when they are sounded together. When studying chords
we talk about harmonic intervals. When melodies are played, we study
melodic intervals.
Mary Had a Little Lamb = E-D-C-D-E-E-E is a melodic interval.
C Major Chord = C + E + G played together is a harmonic interval.
3rd and 5th intervals make up the major chord. A lowered 3rd interval (minor interval) and 5th interval make up the minor chord.
Perfect and Major Intervals
The
interval between the keynote of a major scale and the unison, 4th, 5th,
or octave of that scale is called a Perfect Interval.
For
example, the difference from C to G (in a C major scale) is called a
Perfect 5th. The difference from C to F is called a Perfect 4th. The 8th
note of the scale is referred to as the Perfect Octave. The difference
between the same note is called the Perfect Unison.
The interval between the keynote of a major scale and the 2nd, 3rd, 6th or 7th of that scale is called a Major Interval.
For
example, the difference from c to c (in a C major scale) is called a
Major 2nd. The difference from C to E is called a Major 3rd. The
difference from C to A is called a Major 6th and the difference from C
to B is called a Major 7th.
Minor Types
When
the interval between two notes of a major interval (2nd, 3rd, 6th or
7th) is decreased by a half step, they become Minor Intervals.
For
example, a major 3rd becomes a minor third when decreased by a half
step. In a C major scale, the major third interval is from C to E.
Changing the major third to a minor third would simply mean lowering the
E to E flat. A minor 2nd would be D flat instead of D. A minor 6th
would be A flat instead of A. The minor 7th interval would include B
flat instead of B.
Only Major intervals may be made into minor intervals. Perfect intervals may not (for example, a minor perfect does not exist).
Augmented and Diminished Types
The
word augmented means "made larger." When a perfect or major interval is
made larger by a half step, it becomes an Augmented Interval. For
example, a perfect 5th can become an augmented 5th by raising the 5th
one half step.
In a C major scale, the perfect 5th is the interval
from C to G. By simply raising G to G#, the interval has been expanded,
which makes it an Augmented 5th.
The word diminished means "made
smaller." When a perfect or minor interval is made smaller by a half
step, it becomes a Diminished Interval. For example, a perfect 4th can
become a diminished 4th by lowering the 4th a half step.
In the C Major scale, G is the perfect 5th. By simply lowering G to Gb, it has been made the diminished 5th.
Chromatic Types
When
the keynote and the upper note of an interval are not from the same
major scale, it is called a Chromatic Interval. Minor, diminished and
augmented intervals are always chromatic intervals in major keys.
Summary: What is an interval?
Unison (Prime Interval) and Octave
Melodic/Harmonic Int
Perfect Unison, 4th, 5th and Perfect Octave
Major 2nd, 3rd, 6th and 7th
Minor Int
Augmented and Diminished Int
Chromatic Int
Now we have laid some groundwork for you to understand chords.
Chord Chart
GGGCA x2
GCDEmCDGFrom a distance the world looks blue and green and the snow-capped mountains white.
GCDEmCDG
From a distance the ocean meets the stream and the eagle takes to flight.
CDEmCGDD7
From a distance there is harmony and it echoes through the land.
CGCGCDG
It's the voice of hope it's the voice of peace it's the voice of every man.
From a distance we all have enough and no one is in need.
And there are no guns no bombs and no disease no hungry mouths to feed.
From a distance we are instruments marching in a common band.
Playing songs of hope playing songs of peace - they're the songs of every man.
CDGEmCDGGod is watching us. God is watching us. God is watching us from a distance.
From a distance you look like my friend even though we are at war.
From a distance I just cannot comprehend what all this fighting is for.
From a distance there is harmony and it echoes through the land.
And it's the hope of hopes it's the love of loves it's the heart of every man.
It's the hope of hopes it's the love of loves - This is the song of every man.
And God is watching us God is watching us God is watching us from a distance.
Oh God is watching us God is watching. God is watching us from a distance.
G2 C2/G D/G G2
From a distance the world looks blue and green,
CDG ( D/G,C2/G)
and the snow-capped mountains white.
G2 C2 C/E D/F#G
From a distance the ocean meets the stream,
G/B CDG D/G
and the eagle takes to flight.
REFRAIN 1
Cmaj7 DEm
From a distance, there is harmony,
CG/B G/D D
and it echoes through the land.
CG/B CG/B
It's the voice of hope, it's the voice of peace,
CDG, C
it's the voice of every man.
GCDG
From a distance we all have enough,
CDGC
and no one is in need.
GCDEm
And there are no guns, no bombs, and no disease,
CDG
no hungry mouths to feed.
REFRAIN 2
CDEm
From a distance we are instruments
CGD
marching in a common band.
CGCG
Playing songs of hope, playing songs of peace.
CDG
They're the songs of every man.
CDGEm
God is watching us. God is watching us.
CDG
God is watching us from a distance.
GCDG
From a distance you look like my friend,
CDGC
even though we are at war.
GCDEm
From a distance I just cannot comprehend
CDG, C(pause)
what all this fighting is for.
GDEm
From a distance there is harmony,
CGD
and it echoes through the land.
CG
And it's the hope of hopes,
CG
it's the love of loves,
CDEm
it's the heart of every man.
CGCG
It's the hope of hopes, it's the love of loves.
CDG
This is the song of every man.
G/C C6 DD7/G G D/F# Em
And God is watching us, God is watching us,
Em7 Am7 C/D DG G/B
God is watching us from a distance.
G/C C6 D D7/G G D/F# Em Em7
Oh, God is watching us, God is watching.
Am7 C/DG2
God is watching us from a distance.
Chord Breakdown
G2 = GD/ABD
C2/G = GE/CDF#
D/G = GF#/AD
C = CG/EGD
D = DA/F#AD
G = GD/GBG
C/E = EC/GD
D/F# = F#D/AD
Cmaj7 = CG/EGB
Em = EB/EGB
G/B = B/GBD
G/C = C/DGB
C6 = C/CEA
D7/G = G/CDA
Am7 = AG/BD
G2 = GD/ABDG
Become A Better Church Pianist Now! Learn How To Play Hymns Using Color Chords & Exciting Runs & Fillers www.PianoArrangement.com
"The beautiful thing about learning is that no one can take it away from you." B.B.King
I feel like I am saying good bye summer, hello September!
I sincerely hope this month is off to a good start for you.
And I want to thank you for your response to my newsletter. By your questions, I could tell you were reading my article. And it makes one feel good!Now, some answers to the questions.
1. What are they?
Quartal and Quintalchords have a suspended un-anchored sound to
them that differs form regular chords. This quality makes Quartal and
Quintal chords very useful in a composer's chord vocabulary. Simply put, whatever notes in the grouping, harmonically tied together, and diatonically correct.
2. What's the history?
Quartal and Quintal chords are now common in jazz, rock music and TV and
film music. Quartal chords are also easy to play on the guitar due to
the fact that the standard guitar tuning is mostly fourths. But they first showed up in Classical music with Claude Debussy.
3. Where are they used?
Quartal chords are used in "modal" jazz. Think two or three general chords, diatonically...maj7, m7, dom7. In C just think Cmaj7, Dm7, and G7. You hear the Quartal chord moving in a functioning way. This makes sense than just grabbing chords at random, especially when you are staying in ONE Key.
Quartals are freely substituted over pretty much any chord, except a dominant.
4. Application
There are all kinds of quartal chords and each pitch set has it's own color and uses.
A perfect fourth stack ( regardless of number ) moves in parallel clusters. Other shapes include:
Let's take a C Major 7th chord by adding some quartals.
First, remove unnecessary notes from the block chord. In the left hand, play C, E and B. In the right-hand, add a quartal starting on the 9th and play D, G and C.
I read that all the alteration symbols are not a great "visual" for
the fact that Quartal chord should be applied, mainly because the
voicing really seems to be the important part of "Quartal". So naming
something like F7#5#9(om.3) or just F7#5#9 doesn't really TELL you to
stack them in orders of 4ths.For F7#5#9, when reading a chart, find a F7 voicing
first, then alter for #5#9. But, this won't always give me a linear Quartal chord, but more
of an altered/extended voicing. Spell the basic chord like "(Quartal) next to it, like "F (Quartal)" or "Fmaj7#11(Quartal)".
5. Approach
Generally, it's entirely possible to substitute quartal harmony
over any non-dominant chord in a tune. It's a very easy way to turn static I chords into something more dynamic and
interesting; and the results over minor chords
is nice. Herbie Hancock is a good example of someone who often
uses this approach. He routinely plans diationic quartals over chords
when he's comping.
Approach 1: Diatonically played quartals.
On a sheet of manuscript
paper, write out the following chord (key of C Major): A D G C.
Underneath this, write a C root. The chord: C 6/9 no 3. Next, play the
entire chord up one diatonic note to obtain B E A D. Leave the C root
intact. The chord: CMaj13.
Play up one note to obtain: C F B E. Not quite so useful. The fourth,
F, in the chord is "avoid-ish", when playing over I chords. Continue the
process to obtain all 7 diatonic quartals in the key of C Major. Now
rewrite the entire set with a D root, instead of a C root, and consider
this set as a set of useful quartal voicings/subs for a Dm (ii of C
major). Repeat the procedure for each possible root in the key of C
Major. The general idea: all quartal stacks over an appropriate root are
good substitutions, with the exception of subs for Imaj7, that contain
the fourth degree of the scale (F, in the C major example). Many of
these chords are a bit stark by themselves. Many of them don't have
3rds. But they tend to consistently work well as alternating pairs of
voicings in the same bar, or as ascending or descending planed stacks.
One quartal voice doesn't necessarily contain a 3rd or a 7th; but a pair
(or an ascending or descending group) always includes both in one or
the other of the pair.
Approach 2: Pentatonics with displaced roots.
Consider all voicings of
all chords constructed from a pentatonic scale. These are functionally
equavialent to quartals, because collapsing the notes of a quartal
stack of five notes into a single octave produces a pentatonic scale.
Any pentatonic chord is also a voicing of a quartal stack. In the key of
C major, there are three possible pentatonic scales: C D E G A; C D F G
A; D E G A B. For each, construct ascending stacked voices within the
scale. Start with the shape G C E A;
and play that shape through the pentatonic scale C D E G A. Repeat for
the other two scales. For each of these played stacks, add a root note
from the parent MAJOR scale (same idea as what we did with the extra
root in quartal stacks). The root note doesn't have to come from the
pentatonic scale of the moment. Each of these forms is refered to as a
"pentatonic voicing with a displaced root". Each of these forms is a
good voicing or sub, with the following exception: voicings that contain
the fourth degree of the scale (the "avoid" note), over a I root doesn't
work. Just like for quartal stacks. This approach generates all the
same voicings. The primary difference is that when you walk the voicings
up or down the keyboard, the pentatonic voicings have a more
distinctly open sound to them than the corresponding quartal stack. (open
in the sense that a 6/9 chord is open). A very distinctive sound, that
I'm particularly fond of.
With quartal chords, on the keyboard, the span is a bit wide--you've got a major seventh on
the outside. Often pianists will move the bottom voice up an octave or
drop the top voice down an octave. This sound is related to stacked
fourths, but the interval from bottom to top is only a fifth-easier to
reach. A lot of sounds that you assume are fourth chords are actually
these kinds of voicings."
6. Wrap Up - Conclusion
Fourth voicings, also known as quartal voicings, are more of a
"modern" sound in jazz and were really explored thoroughly by McCoy
Tyner as well as Chick Corea in the 60's. They sound great and can be
played in a number of ways. They really are just a
pentatonic scale
played every other note. Here are the 5 inversions of the C pentatonic scale in fourth voicings:
You can use C pentatonic fourth voicings over Cmaj7, C7, D-7, Fmaj7, F#7alt,
Gsus7, A-7, Bbmaj7#11, or even maybe B-7b5. So there are many
possibilities. You can also make fourth voicings with notes that
aren't in a strict major pentatonic scale. Here is every melody note in
the key of C with fourths underneath:
You can also take a fourth voicing and move it around in parallel
motion. Play this type of movement over a D-7 modal song:
These are all examples of two-handed fourth voicings. You can also just
play 3-note fourth voicings in your left hand while you play a melody in
your right hand. Going in and out of the key will sound very modern and
cool if you do it right. Listen to McCoy to get a real lesson on how to
do this.
I have the Mark Levine Jazz Book. A lot of this stuff is way over my head. You should get the book. Another Jazz artist whom I respect is Willie Myette.
Jazz 101 and Jazz 201 will help you:
Learn how to quickly and easily form
tons of jazz chord patterns and runs that are guaranteed to
have you standing out from the crowd, how to ensure that no matter what
voicings and blues licks you play, they'll turn heads each
and every time and the 7 secrets to
playing signature solos like a pro from a pro!
These chords are more ornamental than fundamental, yet they are widely used in many kinds of music. We have already seen the augmented chord used as a variation of a seventh chord. Augmented chords almost always can take a dominant seventh (b7) with good results. When substituting augmented chords for sevenths, take care that the melody note is not the natural 5 of the chord as it will clash severely with the raised 5 of the augmented chord. Augmented chords are found often in music of the 30's and 40's and in contemporary gospel piano.
Diminished chords are often used as passing chords. They can serve as a bridge, for instance, between two chords whose roots are a whole tone away. If a song has a C to Dm change, try sneaking in a C#dim chord between. It may or may not work. If it does, you have a nice little chromatic progression: C, C#dim, Dm. Another possibility is putting an F#dim between F and G7, yielding F F#dim, G7.
One interesting anomaly. A diminished seventh chord does not contain a seventh as we know it. A Cdim7, for example, is a Cdim triad with the addition of the 6th or A (CEbGbA). If your music calls for a plain diminished triad, it will almost invariably sound better if you play the diminished seventh instead.
Caug (C+) = CEG#
Caug7 (C+7) = CEG#Bb
Cdim (Co7 = CEbGbA
Cm7b5 (Cm7b5) = CEbGbBb
Augmented and Diminished Chords
Augmented = 1 3 #5 ((C E G#)
Augmented 7th = 1 3 #5 b7 (C E G# Bb)
Diminished = 1 b3 b5 (C Eb Gb)
Diminished 7th = 1 b3 b5 6 (C Eb Gb A)
Half Diminished = 1 b3 b5 b7 (C Eb Gb Bb)
Half Diminished is also referred to as a minor seven flat five, e.g. Cm7b5 or Cm7-5. This is often used in jazz as an alternative to a plain minor chord.
* * * * * * *
*How do I find time to practice?
*How can I get better at playing in different keys?
*How do I decide/recognize what the left hand chords are in a piece of music?
*How can I play and read sheet music faster?
*How do I decide on proper fingering?
The answer to these and many other piano playing questions can now be yours.
Step-By-Step Piano DVD Course Helps You Become A Better Piano Player www.LearnPianoTips.com
Thanks for stopping by. I hope you enjoy your stay at LadyD Piano.
Are you familiar with grace notes, or crushed notes? Do you use them in your piano playing? Nothing gets your sound more soulful quicker than throwing in some grace notes. Grace notes are notes that a played very briefly and often very softly before the "main" note is played.
Grace notes sound good because they introduce an element of notes that do not fall into the scale you are using. It brings a bit more emotion to your sound -- sometimes playfulness, sometimes sadness.
Like everything else in music, it's not a matter of throwing in any old chromatic note. Let me give you three principles for using grace notes that I learned:
1) Blues Grace Notes - if you are working in the major scale (or in the minor scale as well, I suppose, though I haven't worked that out yet) identify your major scale, then identify the minor blues scale of that same key. Like this:
C major scale: C, D, E, F, G, A, B, C C minor blues: C, Eb, F, Gb, G, Bb, C
Now, you don't have to pay in the minor blues scale per se (indeed, many major scale songs won't "allow" it), but you want to "borrow" notes from this second scale strategically.
You can apply this in your right hand soloing. Next time you're doing a run up the major scale, introduce some of the blues minor scale notes, very briefly, as grace notes.
Example. Instead of playing:
F, G, A, B
play
F, G, A, (Bb), B [Bb is your grace note]
You can also apply it to your chords. Instead of just playing
G - B - D [G major]
play
G - (Bb slide into) B - D
Practice doing it very lightly and subtly for a nice soul feel. But why does this work, besides the fact that you are borrowing from the blues scale? Well...
2) Minors into Majors - The basic idea is that just about any major chord can be made to sound soulful by sliding from its minor to its major in a split second. Works on piano, works even better on guitar.
Some examples:
C major = C, (Eb into) E, G F major = F, (Ab into) A, C G major = G, (Bb into) B, D
3) Tension and Release - Tension and Release is a major concept in writing lead parts. It is the process of building up a bit of tension via dissonance and then release that tension by creating consonance. In other words...
in the chord of C major (C-E-G) in your left hand with an F in your right hand would be considered a dissonance, because although F falls into the C major scale, it is not part of the chord. However, slide that F up to G and now that G is consonant. Congratulations -- you've just created a tension and release.
Now, we can use this as another principle for grace noting. Instead of going straight into your intended note, touch on a dissonant, yet diatonic, note on the first beat then glide into your intended note. That should create a lovely bit of sweet emotion.
Some more applications of grace notes:
a) use it to create lovely 7th chords. Can't decide whether you want to use a bluesy dominant seventh or a jazzy major seventh? Use both! Crush the dominant into the major like this:
C-E-G-(Bb into) B
furthermore this relatively "open" voicing sounds pretty sophisticated, even "Burt Bacharach-ish."
c) relearn your major scales with blues grace notes thrown in to enhance your soloing.
* Related Posts: http://ladydpiano.blogspot.com/2008_09_01_archive.html
* Urban Pro600
Beef up your playing drastically by adding these small little grace notes, slides, and fill-ins to your chord transitions. Jon utilizes this trick at least 80% of the time and he spills the beans on exactly what to do to "own" it. http://ladydpiano.blogspot.com/2007/09/west-coast-urban-feel.html
http://www.hearandplay.com/441295/gkurban.html
Clip from GospelKeys Urban... How To Use Grace Notes
I have taken online courses with Jermaine Griggs from HearandPlay.com and also with Willies Myette on jazzpianolessons.com Both of these fantastic musicians and teachers explain the importance of knowing and understanding music theory, especially playing chord progressions or chord patterns. Here are some you need to know that I have found helpful to my piano playing. I share these chord patterns with my piano students to free them up from using and depending so much on sheet music or chord charts.
* CHORD PATTERNS:
I - IV - V - I Chord Pattern
Examples: Key of C: C - F - G - C Key of D: D - G - A - D Key of E : E - A - B - E I - iii - IV - ii - I Chord Pattern
Examples: Key of F: F - A - Bb - G - F Key of G: G - B - C - A - G Key of A: A - C# - D - B - A
From time to time, I get a little help from my friends... sounds like a song! lol A note was posted in the forum by Rueben explaining chord patterns from http://zone.hearandplay.com
The pattern: you have to establish if it is a repeating pattern like 1st stanza: Glorify Thy Name C Dm G C I ii V C Father I love you I praise you I adore you C F G G7 I IV V V7 Glorify they name in all the earth C F I IV Glorify thy name E7 Am Fm III vi iv Glorify thy name C Em Dm I iii ii Glorify thy name G4 C V I in all the earth
in the second stanza Father is replaced with Jesus while the third--you use Spirit. the pattern will be the same in 2nd and 3rd stanza. Notice: E7 in glorify thy name is an "altered chord" because diatonic family of C should be Em. The other exception in that line is Fm...the 4th chord should be an F but this one is also an altered chord...an exception because in key of C the diatonic chord family should be C Dm Em F G Am B*..... The III and iv signifies that you are altering that chord.
LadyD, I hope you will now have a clearer picture of what I am saying. It is not the 2-5-1 or 1-4-5 pattern...It is the pattern of the song that you are trying to establish/analyze. Enjoy....God bless Ruben
I love teaching beginners, young children, and adults. I offer piano lessons for ages 3-103 and all levels from primer to advanced. We have a blast with piano games, playing duets, learning songs and theory.
I offer private and group lessons. I am a WunderKeys piano teacher for preschoolers, 3-years-old to Kindergarten. We have 2 recitals, Fall and Spring.
Thank You!
I've Been Mentioned!
Billie
“If I’m going to sing like someone else, then I don’t need to sing at all.” – Billie Holiday
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